John Cazale in The Godfather
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Showing posts with label 1972 Best Supporting Actor. Show all posts
Showing posts with label 1972 Best Supporting Actor. Show all posts
Best Supporting Actor 1972: Results
John Cazale in The Godfather
Best Supporting Actor 1972: Joel Grey in Cabaret
Joel Grey won an Oscar from his only nomination for portraying the Master of Ceremonies in Cabaret.
Cabaret is a well made musical, character study, and an incredibly interesting look at Germany's decay into Nazism.
Joel Grey's performance here is quite interesting in that he really does not portray a character in the more traditional sense. The Master of Ceremonies does not really seem to be a real person but rather a symbolic creature of sorts. The Master is only seen on stage or briefly back stage. The only main character he interacts with is Liza Minnelli's Sally Bowles, and that is mostly in performing with her or introducing her. There are two incredibly brief moments where Grey interacts with her beyond performance, by they still do not suggest a man but a creature.
The Master of Ceremonies is just a device used in a film to give an interpretation or thematic narration of sorts of both the actions of the main story or the decay of Germany itself. This sort of device in a film could seem too odd, or too forced like in Bob Fosse's later film All that Jazz, but in this film it works incredibly well. I think part of the reason it works so well is Joel Grey's performance.
Grey's performance is a brilliant oddity that always amplifies the film it is in. Grey's creation of this creature that is the Master of Ceremonies is simply brilliant. He really does not seem to be a normal human being which works very well. He makes his odd gremlin like little man of sorts incredibly memorable. Whenever he is on screen he completely controls the screen with his strange but exceptionally compelling presence. Everything single one of his musical numbers or skits are made especially compelling because of the energy Grey puts into them.
Everything that Grey does in his performance simply adds to the film, and just works out perfectly. Every little moment he has he makes the most of it. He gives not only an entertaining performance, but one that does always suggest a wider meaning to what he is doing that surprisingly seems natural, well as natural as something like the Master of Ceremonies can be. Grey entire performance is simply a perfect example of a brilliant character creation, that utilizes just about everything he has to make a great performance which I believe is essential to the effectiveness of Cabaret on the whole.
Joel Grey's performance here is quite interesting in that he really does not portray a character in the more traditional sense. The Master of Ceremonies does not really seem to be a real person but rather a symbolic creature of sorts. The Master is only seen on stage or briefly back stage. The only main character he interacts with is Liza Minnelli's Sally Bowles, and that is mostly in performing with her or introducing her. There are two incredibly brief moments where Grey interacts with her beyond performance, by they still do not suggest a man but a creature.
The Master of Ceremonies is just a device used in a film to give an interpretation or thematic narration of sorts of both the actions of the main story or the decay of Germany itself. This sort of device in a film could seem too odd, or too forced like in Bob Fosse's later film All that Jazz, but in this film it works incredibly well. I think part of the reason it works so well is Joel Grey's performance.
Grey's performance is a brilliant oddity that always amplifies the film it is in. Grey's creation of this creature that is the Master of Ceremonies is simply brilliant. He really does not seem to be a normal human being which works very well. He makes his odd gremlin like little man of sorts incredibly memorable. Whenever he is on screen he completely controls the screen with his strange but exceptionally compelling presence. Everything single one of his musical numbers or skits are made especially compelling because of the energy Grey puts into them.
Everything that Grey does in his performance simply adds to the film, and just works out perfectly. Every little moment he has he makes the most of it. He gives not only an entertaining performance, but one that does always suggest a wider meaning to what he is doing that surprisingly seems natural, well as natural as something like the Master of Ceremonies can be. Grey entire performance is simply a perfect example of a brilliant character creation, that utilizes just about everything he has to make a great performance which I believe is essential to the effectiveness of Cabaret on the whole.
Best Supporting Actor 1972: Al Pacino in The Godfather
Al Pacino received his first Oscar nomination for portraying Micheal Corleone in The Godfather.
Al Pacino's performance is most certainly a leading performance in the Godfather. The film after all follows Micheal through his transition. Michael begins the film as coming home after serving in the marines. Pacino shows Micheal to be a nice charming man who certianly cares for his family, but does not wish to be part of their criminal empire.
In the early part Pacino shows Micheal just be a normal man who wishes to live just a normal life. Unfortunately he is called back into the family when his father Vito is severely wounded by an assassination attempt. At this point in the film Pacino is someone we as the viewers can really empathize with as just a normal guy who cares for his father, and tries his best to help his family. His first time being called into to help his family is almost by accident as he goes to save his father from being killed. Pacino shows this as not yet wanting to be part of the family business, but rather being pulled into it by an unfortunate circumstance, and his genuine love for his family.
Micheal though is further pulled in though where he comes with a plan to rid the family of two rather key enemies. This transformation is somewhat sudden by necessitated by the situation. Micheal transformation here could have been made very wrong, but Pacino very carefully portrays the subtle changes of Micheal here, showing that he still is the man at the beginning of the film, but the situation has brought out perhaps something internally held by Micheal. Pacino also brilliantly suggests the cold calculating Micheal of later, but only little showing him to be more emotional here over the condition of his father, but still showing the change of Micheal beginning none the less.
The biggest scene I would say of Pacino's though is when he finally carries out his plan, which is simply an acting masterpiece by Pacino in this scene. This scene Pacino puts on the facade to the men he going to kill of being there just as a negotiator for the family. At the same time though Pacino incredibly subtle shows the incredibly tension and fear going through Micheal as he goes through this life changing night. I think the most incredible moment is just before he is going to perform the deed the camera fixes on Pacino, and he shows all of what is going through his mind simply brilliantly showing just with almost just his eyes the emotions Micheal is feeling and building up to the final decision he makes and acts upon.
His action shows that he has not fully transitioned yet and in his exile scenes Pacino shows an interesting middle of Micheal transition. He shows the beginning of his command over situations such as when he manipulates the father of the woman he plans to marry, but he still shows the older Micheal in the way he still seems charming and likable. After the tragic ends of his exile though Micheal transition goes even closer to his miserable end. He shows one more moment of his past in his final talk with his father. Both Pacino and Brando in this scene as they reflect on the time loss are brilliant as they show a father and son who have lost what they had or could have had, simply a terrific moment for both actors.
Any of good of Micheal leaves with Vito as he becomes completely on his own, and Pacino brings his brilliant subtle transition to an end. He reaches his end as a cruel cold man. Pacino is stunning in how calculating and chilling he shows Micheal is now. He always always shows Micheal examining his situation, and controlling all he wants with always the same cold demeanor. The most outstanding part is that Micheal started as a nice man, but is brought down to the worst kind of man. Pacino's entire transition is completely natural which makes the change in Micheal completely chilling as well as being especially disheartening. Pacino's performance simply is an amazing performance.
In the early part Pacino shows Micheal just be a normal man who wishes to live just a normal life. Unfortunately he is called back into the family when his father Vito is severely wounded by an assassination attempt. At this point in the film Pacino is someone we as the viewers can really empathize with as just a normal guy who cares for his father, and tries his best to help his family. His first time being called into to help his family is almost by accident as he goes to save his father from being killed. Pacino shows this as not yet wanting to be part of the family business, but rather being pulled into it by an unfortunate circumstance, and his genuine love for his family.
Micheal though is further pulled in though where he comes with a plan to rid the family of two rather key enemies. This transformation is somewhat sudden by necessitated by the situation. Micheal transformation here could have been made very wrong, but Pacino very carefully portrays the subtle changes of Micheal here, showing that he still is the man at the beginning of the film, but the situation has brought out perhaps something internally held by Micheal. Pacino also brilliantly suggests the cold calculating Micheal of later, but only little showing him to be more emotional here over the condition of his father, but still showing the change of Micheal beginning none the less.
The biggest scene I would say of Pacino's though is when he finally carries out his plan, which is simply an acting masterpiece by Pacino in this scene. This scene Pacino puts on the facade to the men he going to kill of being there just as a negotiator for the family. At the same time though Pacino incredibly subtle shows the incredibly tension and fear going through Micheal as he goes through this life changing night. I think the most incredible moment is just before he is going to perform the deed the camera fixes on Pacino, and he shows all of what is going through his mind simply brilliantly showing just with almost just his eyes the emotions Micheal is feeling and building up to the final decision he makes and acts upon.
His action shows that he has not fully transitioned yet and in his exile scenes Pacino shows an interesting middle of Micheal transition. He shows the beginning of his command over situations such as when he manipulates the father of the woman he plans to marry, but he still shows the older Micheal in the way he still seems charming and likable. After the tragic ends of his exile though Micheal transition goes even closer to his miserable end. He shows one more moment of his past in his final talk with his father. Both Pacino and Brando in this scene as they reflect on the time loss are brilliant as they show a father and son who have lost what they had or could have had, simply a terrific moment for both actors.
Any of good of Micheal leaves with Vito as he becomes completely on his own, and Pacino brings his brilliant subtle transition to an end. He reaches his end as a cruel cold man. Pacino is stunning in how calculating and chilling he shows Micheal is now. He always always shows Micheal examining his situation, and controlling all he wants with always the same cold demeanor. The most outstanding part is that Micheal started as a nice man, but is brought down to the worst kind of man. Pacino's entire transition is completely natural which makes the change in Micheal completely chilling as well as being especially disheartening. Pacino's performance simply is an amazing performance.
Best Supporting Actor 1972: James Caan in The Godfather
James Caan received his first Oscar nomination for portraying Sonny Corleone in The Godfather.
Sonny Corleone is Vito Corleone oldest son and the crime family's under boss who is the heir apparent to succeed Vito as Don of the family. Sonny is the hot headed son who has a bad temper, and is very quick to respond to a situation in a violent way. Here is a performance that perfectly embodies the character, and that is the type of performance that simply makes the role seem like no one else could have portrayed it as well.
Caan is simply absolutely right for Sonny, and just everything which he does in the role is exactly as Sonny should be. Caan as an incredible intensity in the role, always showing it as an almost overpowering intensity which he tries to intact to situations even when it is not the best choice for the situation. Caan has the perfect way of showing Sonny's temper, in a hair trigger fashion with the right incredible sting when it fully comes out in his fully emotional and fully convincing reactions.
Caan's performance is a strongly physical and charismatic performance. Caan really energizes the screen well in his was of always commanding, and always have a strong presence whenever he is in a scene. Caan leaves no doubt of Sonny presence in the crime family, because of this command and naturalism in his performance. Every single thing which Sonny does is Sonny, and every thing he does is completely and utterly made true to the character because Caan absolutely becomes Sonny in this role.
Caan's performance is also very interesting because despite the intensity of the character of Sonny, Caan remains likable as Sonny as well. Caan has tremendous charisma in this role which works incredibly well. One aspect Caan also excels in particularly well which could have easily been forgotten in a performance like this, and that is showing a tender side of Sonny which is for his family.
Now Caan very astutely never completely shows tenderness in his performance, but rather shows it in a subtle rather small fashion. Caan shows this well in his scene where he gives the quiet talk to Michael (Al Pacino) just before Michael really becomes part of the family business. Also his moments with his sister Connie after she is beaten by her husband (Talia Shire) where he shows his anger well, but also a genuine care for his sister which is spectacularly done by Caan. I think these moments in particular allowed Caan to show a greater depth of Sonny. Overall Caan gives a strong, intense performance, the type of performance that makes it so I really could not see anyone else in the role besides Cann.
Caan is simply absolutely right for Sonny, and just everything which he does in the role is exactly as Sonny should be. Caan as an incredible intensity in the role, always showing it as an almost overpowering intensity which he tries to intact to situations even when it is not the best choice for the situation. Caan has the perfect way of showing Sonny's temper, in a hair trigger fashion with the right incredible sting when it fully comes out in his fully emotional and fully convincing reactions.
Caan's performance is a strongly physical and charismatic performance. Caan really energizes the screen well in his was of always commanding, and always have a strong presence whenever he is in a scene. Caan leaves no doubt of Sonny presence in the crime family, because of this command and naturalism in his performance. Every single thing which Sonny does is Sonny, and every thing he does is completely and utterly made true to the character because Caan absolutely becomes Sonny in this role.
Caan's performance is also very interesting because despite the intensity of the character of Sonny, Caan remains likable as Sonny as well. Caan has tremendous charisma in this role which works incredibly well. One aspect Caan also excels in particularly well which could have easily been forgotten in a performance like this, and that is showing a tender side of Sonny which is for his family.
Now Caan very astutely never completely shows tenderness in his performance, but rather shows it in a subtle rather small fashion. Caan shows this well in his scene where he gives the quiet talk to Michael (Al Pacino) just before Michael really becomes part of the family business. Also his moments with his sister Connie after she is beaten by her husband (Talia Shire) where he shows his anger well, but also a genuine care for his sister which is spectacularly done by Caan. I think these moments in particular allowed Caan to show a greater depth of Sonny. Overall Caan gives a strong, intense performance, the type of performance that makes it so I really could not see anyone else in the role besides Cann.
Best Supporting Actor 1972: Robert Duvall in The Godfather
Robert Duvall received his first Oscar nomination for portraying Tom Hagan in The Godfather.
Tom Hagan is the informally adopted son of Vito Corleone(Marlon Brando) who acts the crime family's lawyer and consigliere. Hagan is the most level headed of the sons of Vito who always keeps his head, and always keeps in mind that everything that is happening must be taken as business rather than as something personal.
Robert Duvall is good here in his role as a reasonable man. He shows Tom Hagan as not an unemotional man, but rather a man who keeps his head despite being threatened or otherwise. Hagan is a character who mostly does take care of business carefully, and Duvall properly shows Hagan as a level headed man.
Tom Hagan is the least complicated of the Corleone sons since he does always stay fairly mild mannered, only only really raises his voice when he is trying to calm down the hot headed Sonny (James Caan). Although the nature of the role prevents Duvall from giving a great performance, his performance is more than satisfactory for the part, and still completely embodies exactly what Tom Hagan should be in the film. He keeps his character interesting despite being the most reasonable, Duvall has the right quiet persuasion and presence in the film.
Also in his few chances to show off a little more of Tom Hagan, Duvall does his best. Two scene in particular one where he must tell of some very bad news to Vito, is well handled in that Duvall shows Hagan more emotional side with the right amount sadness about the loss in the family. The other scene is when Hagan actually becomes a little more emotional questioning the loss of his rank in the family. A short moment but again well handled showing a little more of Hagan. Overall not a great performance but certianly a good one which simply adds just even more to the film it is in.
Robert Duvall is good here in his role as a reasonable man. He shows Tom Hagan as not an unemotional man, but rather a man who keeps his head despite being threatened or otherwise. Hagan is a character who mostly does take care of business carefully, and Duvall properly shows Hagan as a level headed man.
Tom Hagan is the least complicated of the Corleone sons since he does always stay fairly mild mannered, only only really raises his voice when he is trying to calm down the hot headed Sonny (James Caan). Although the nature of the role prevents Duvall from giving a great performance, his performance is more than satisfactory for the part, and still completely embodies exactly what Tom Hagan should be in the film. He keeps his character interesting despite being the most reasonable, Duvall has the right quiet persuasion and presence in the film.
Also in his few chances to show off a little more of Tom Hagan, Duvall does his best. Two scene in particular one where he must tell of some very bad news to Vito, is well handled in that Duvall shows Hagan more emotional side with the right amount sadness about the loss in the family. The other scene is when Hagan actually becomes a little more emotional questioning the loss of his rank in the family. A short moment but again well handled showing a little more of Hagan. Overall not a great performance but certianly a good one which simply adds just even more to the film it is in.
Best Supporting Actor 1972: Eddie Albert in The Heartbreak Kid
Eddie Albert received his second Oscar nomination for portraying Mr. Corcoran in The Heartbreak Kid.
The Heartbreak Kid is a rather strange dark comedy, with a rather strange just feel to it. It tells the story of a newlywed young man Charles Grodin who becomes bored with his new wife very quickly, and instantly goes after another woman Cybil Shepard he chances upon.
Albert portrays Mr. Corocoran the father of Cybil Shepard's character who instantly dislikes Charles Grodin. I will say I enjoyed Albert's mostly deadpan performance as he gives Grodin a constant look like he is going to murder him. Albert performance mostly are just his reactions to Grodin which I did thoroughly enjoy, due to his quiet intensity.
He later has one big scene at the end where he tries to buy off Grodin to leave his daughter alone. Again Albert played the scene with the right amount of anger, but still managed to keep his anger in enjoyable sort of fashion. Albert's performance is not particularly complex, but his just right reactions to his performance work out quite well. I always like his presence in the film, and his is a very good supporting performance.
Albert portrays Mr. Corocoran the father of Cybil Shepard's character who instantly dislikes Charles Grodin. I will say I enjoyed Albert's mostly deadpan performance as he gives Grodin a constant look like he is going to murder him. Albert performance mostly are just his reactions to Grodin which I did thoroughly enjoy, due to his quiet intensity.
He later has one big scene at the end where he tries to buy off Grodin to leave his daughter alone. Again Albert played the scene with the right amount of anger, but still managed to keep his anger in enjoyable sort of fashion. Albert's performance is not particularly complex, but his just right reactions to his performance work out quite well. I always like his presence in the film, and his is a very good supporting performance.
Best Supporting Actor 1972
Al Pacino in The Godfather
James Caan in The Godfather
Joel Grey in Cabaret
Robert Duvall in The Godfather
Eddie Albert in The Heartbreak Kid
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